SQÜRL is: Carter Logan and Jim Jarmusch.
An enthusiastically marginal rock band from New York City who like big drums & distorted guitars, cassette recorders, loops, feedback, sad country songs, molten stoner core, chopped & screwed hip-hop, and imaginary movie scores.
SQÜRL began in 2009 when Jim and Carter teamed with producer/engineer Shane Stoneback to record some original music for the film THE LIMITS OF CONTROL. Echoing the varied Spanish landscapes captured in the film, the three emerged with a set of slow-motion psychedelic rock instrumentals (releasing them as Bad Rabbit).
Following these scoring sessions Jim, Shane, and Carter continued to record new originals while also exploring the back-alleys of American country, noise, and psychedelia. Having changed their name to SQÜRL the group released a series of 3 EPs of these songs, recorded over a 3 year period by Shane at Treefort Recording in Brooklyn, NY.
In 2013, SQÜRL collaborated with Dutch lutenist Jozef Van Wissem to compose and perform the score for the film ONLY LOVERS LEFT ALIVE. Bridging ancient and modern sounds, the score serves as a reflection of the distinct textures of Detroit and Tangier. The film and soundtrack album were released worldwide in 2014, and quickly earned the group the Cannes Soundtrack Award from a consortium of film and music critics. The trio of Jarmusch, Logan and Van Wissem have since performed on many international stages including the inaugural All Tomorrow's Parties Iceland, Primavera Sound, Big Ears Festival and Third Man Records where they recorded and released a live album.
Following their work on ONLY LOVERS LEFT ALIVE, Jarmusch and Logan began a new sonic exploration: scoring four silent films by American Dada and Surrealist artist Man Ray. Performed live along to the films, relying heavily on loops, synthesizers and effected guitars, the semi-improvised scores drift toward the band's more experimental, ambient and drone-like tendencies.
With their most recent project in 2016, composing and recording the score for the film PATERSON, SQÜRL dove deeper into the ocean of ambient electronic music. Drums and guitars have been (though only temporarily) left behind in favor of analog synths on a quest for new ecstatic sounds to enrich the poetry of the film.